


Codex Duella Magica

by MandyMyfanwy



Category: Harry Potter - J. K. Rowling
Genre: Duelling, Fighting Manual, Gen, Magic Martial Arts, Martial Arts
Language: English
Status: In-Progress
Published: 2018-02-25
Updated: 2018-04-30
Packaged: 2019-03-24 01:36:56
Rating: General Audiences
Warnings: No Archive Warnings Apply
Chapters: 5
Words: 3,641
Publisher: archiveofourown.org
Story URL: https://archiveofourown.org/works/13800621
Author URL: https://archiveofourown.org/users/MandyMyfanwy/pseuds/MandyMyfanwy
Summary: The Book of Magical Duelling by Professor Filius Flitwick





	1. Frontmatter and To the Reader

# Codex Duella Magica

#### The Book of Magical Duelling

 

## By Filius Flitwick

Maestro of Duelling

Twice Champion of the English Duelling Society

Victor of the All-England Wizarding Duelling Competition

Victor of the World Duelling Championship

Master of Charms at Hogwarts School of Witchcraft and Wizardry

Order of Merlin, Second Class

Doctor of Defensive Wizardry

 

A manual for the education of duellists in the techniques of the Art, both in the basics and in advanced techniques.

 

* * *

 

** Chapters to be found within **

_c.i._ **To the Reader**

 _c.ij._ **Introduction to Duelling Magic**

 _c.iij._ **On Preparation**

 _c.iv._ **On Wand Movements**

 _c.v._ **On Incantations**

 _c.vi._ **On Effect**

 _c.vij._ **On the Five Basic Drills**

 _c.viij._ **On Duelling Etiquette**

 _c.ix._ **On the Selection of Spells**

 _c.x._ **On Wandlore for Duellists**

 _c.xi._ **On Duelling Societies**

 

* * *

 

##  To the Reader

My dear friend, it has long been my pleasure to discuss matters of the art of magical duelling with my fellow wizards and witches, though alas I have often found that I run out of patience in my audience before I run out of matters to discuss. This is, I fear, the curse of the truly passionate, though it has its blessings in those rare times when one finds a kindred spirit with whom to share that passion, and such discussions will often run out of daylight — and in the most intensive examples, then run out of moonlight before the dawn — before the topic is exhausted to the satisfaction of the interlocutors.

To save those of my acquaintance from unexpectedly long conversations on the finder points of wand movement chaining and the best selection of training drills for shield charms, and to furnish those with greater passion with some reasonably thorough text which may provide instruction, I have been convinced to take quill in hand and produce this work, which I have titled the Codex Duella Magica, or book of magical duelling. It is my hope that renewed interest in the subject may see a return of the duelling societies and tournaments to their former glory, as I have many a fond memory of time spent in such company and such endeavours.

While it is my hope that this book may be of use to those who wish to learn the subtle art of duelling, I must caution you that it is not intended as a substitute for either the company of a duelling society or the safety of proper instruction. Proceed, if you will, in your studies here with caution, with curiosity, and with conviction.

** Incipe! **

**Notes for the Chapter:**

> The chapter list found here will be updated as chapters are planned or added - you might well see future chapters listed before they reach publication, at least partially to let me keep my thoughts straight (but if I say it's to pique your interest, that makes me a cunning author, right?). Don't fret if chapters are reordered, or renumbered as chapters are split, combined, or inserted into the list. Writing a textbook is a messy process, and the insight into Flitwick's working process must be worth something.


	2. Introduction to Duelling Magic

As a student of magic of some accomplishment, you have to date been educated in a number of spells which may be useful in a duelling situation. However, in the lessons you have taken, you have practised these spells in isolation. In duelling, this approach is, in short, untenable.

To duel effectively, you must be able to cast multiple spells in a short duration.

The typical casting technique as taught to students is Preparation, Wand Movement, Incantation, Effect. To keep these stages separated is important for many spells, as it ensures the best effect and control of effect, but for duelling use, they must be blurred together somewhat, both between stages, and between spells. This is a difficult thing to achieve at speed, but the exercises in each chapter of this book will develop your skills towards proficiency in this complicated art.

To duel, especially for self defence, requires not just skill at spellcasting, but also a keen intellect and finely honed reflexes, as a fast spell uncountered is of greater effect than a powerful spell that breaks upon an opponent's shields.

While the Codex Duella Magica contains much of the basic knowledge required for success in the art of duelling, it is no substitute for hands-on instruction. With a qualified duelling teacher, there is someone to observe and guide your progress, to see and correct bad habits before they become ingrained, and to give a safe environment to practice techniques against a live partner – there is only so much that practising against a mirror will achieve.

Duelling, both for combat and for sport, has a long and illustrious history, and by learning to duel, you are becoming part of this lineage. In combat, great witches and wizards have duelled for their honour, to defend those they loved, or to defeat their enemies. In sport, some of the greatest and most fantastic displays of the magical arts have separated the truly thaumaturgically talented from the merely magically meretricious.


	3. On Preparation

It is perhaps obvious to state that the first part of casting any spell is in the preparation, but to be thorough it is necessary to state the obvious as part of the preparation towards building a robust understanding. There are many factors which play into the preparation of a spell, and these are each subtly (or not so subtly) changed when casting duelling spells.

The first part of the preparation of a spell is the decision to cast it. This part is often not considered part of the spell-casting process, but in this situation I must disagree with my learned colleagues who might state such a position. When duelling, the decision to cast, and the choice of what to cast, must be made quickly, correctly, and deliberately. If the decision is slowed by indecision, then the entire spell will be delayed and an opportunity lost, or indeed the duel as a whole lost. If the decision is marred by misjudgement, then here again an opportunity, or the duel, may be lost, as the wrong spell will not have the desired offensive effects, or the required defensive effects. Finally if the decision is made carelessly, then the caster becomes a danger to themselves, their opponent (if not intended as a duel to the death, this is important), and even to bystanders — there are a number of noted and tragic cases where an innocent person, either watching a public duel or unfortunate enough to find themselves in the area of a private duel, was injured or even killed by a wayward, ill-chosen, and ill-cast spell.

When casting a number of spells in sequence, the choice of what to cast is often made before casting, and then often before the duel itself. It is a useful exercise to train certain sequences of spells to be cast in connection, so that such a sequence may be chosen as a single item of thought when needed. The methods, advantages, and dangers of this will be considered in more detail in the next chapter.

However, often the choice of individual spells must be made on the spot, and at great speed. The chiefmost example of this is the casting of defensive spells such as the Shield Charm. This may involve interrupting a prepared sequence of spells that was in the process of being cast, and it is important to train the ability to transition from casting offensive spells into defensive spells at less than a moment's notice, as the need arises. But even here, we can see an opportunity to train a spell sequence, as mentioned above, in the parry-riposte effect of combining a defensive spell with an immediate counter-attack.

The second part of the preparation of a spell is the intent involved in casting. This part of casting is one of the first things taught to young wizards, and so it might be thought that it would require little attention in training for the arts of duelling, but this thought would be wrong. Maintaining, directing, and correcting one's intent during the flurry of spells that is a duel is one of the most difficult parts of the duellist's art. It requires a keenness of attention and intention that can be daunting to the uninitiated, and exhausting even to the experienced.

As each spell being cast will have different intents required, unless one is simply casting the same spell over and over again (an approach which has found some success in the lower orders of duelling but will simply amuse a more experienced opponent), it is necessary to switch between these intents with precise timing. A single spell cast on its own will usually have an overflow of intent both before and after, as the caster sets their intent, then performs the required incantation and wand movement, and then observes the results, and then relaxes their concentration. In a duelling sequence, this overflow would interfere to a great extent, as one cannot wait for the full effects of a spell to take hold before preparing the next spell without exposing oneself to counterattacks and counteractions.

To achieve this more rapid switching of intent, I am afraid there are few shortcuts that can be considered. In short, one must build the ability through repeated use, built up slowly from first principles. A short sequence of a pair of spells, cast first at a regular speed and then with an ever decreasing delay between them each time, is the first step on this path, as will be described later.

 

#### Exercises of Practise

To practise the required mental feat of switching intents of various spells quickly, the basic exercise is simply to do it. Select a set of spells that you wish to rehearse — I find it useful to start with a pair, then build to three, and gradually increase the length of the sequence as the session continues. Then, with wand not in hand, summon to mind the intent of the first spell, and then the next. It is normal for this switching of intent to be slow to start with, but as you continue, you will find that it comes somewhat more readily. Adding a third spell to this sequence increases the difficulty somewhat, so be sure to get a good hold of the two spell sequence before continuing on.

As the sequences get longer, there comes the additional challenge of remembering the list in order, including the required intent and other components, while also managing the concentration of intent. While it is acceptable for training purposes to have a written list to hand, I urge you to try to wean yourself from this crutch as best as you are able, as such aids will not be available in an applied setting.


	4. On Wand Movements

Key to spell-casting for the duellist is the control and sequencing of wand movements. While spells may, in extremis, be cast without a wand, these are limited, difficult, and volatile. To use wandless magic in a sporting duel is irresponsible, as one may be fully expected to have arrived at the duel in possession of both their wits and their essential equipment, and the volatility of these spells may cause unintended injury or damage to oneself, one's opponent, or Merlin forbid, one's audience. To use wandless magic in a duel of combat is, perhaps, more forgivable, but no less risky. If one is ambushed, and deprived of their wand in some manner, then a Shield Charm cast without wand is superior to an absent defence — indeed most truly advanced duellists have trained for this eventuality — but it is a difficult thing to master with any reliability.

You will know by now that each spell has a wand movement that is individual and unique. When combined with intent and incantation, the desired spell is (hopefully) produced. There are many spells which share some similarities of wand movement, however, as there are a finite number of basic movements which can combine and build into the actual spell movement patterns. For this reason, proper control of intent and incantation, and control of the timing of these elements, is key to successful casting in a duelling context.

This aside, there is one factor above all others that contributes to success in duelling, from the perspective of the wand movements. This factor is called chaining, and is the skill of producing one spell's wand movement flowing into the next without pause, and without having to return to a neutral position. Some spells are more suited to this than others, of course, and it is a natural frustration that not all of the most useful duelling spells are the ones which lend themselves most efficiently to chaining, and not all of the most adaptable to efficient chaining are particularly useful in a duelling situation. I myself am particularly fond of the smooth motion when casting an Unlocking-Levitation Charm chain, but have found its applicability in duels to be limited at best (I have used an Unlocking-Levitation Charm chain a total of two times during duels throughout the whole course of my life. Once, as a distraction — my opponent was standing near a locked chest containing three Cornish Pixies — and once to rather humorous effect as my opponent had a small locked purse hanging from his belt, containing a pink handkerchief which I deposited upon his head.)

There are two basic types of chains that you will find aiding you in your duelling endeavours: the prepared chain, and the responsive chain. Both of these are vital to a successful duelling career. The first type, the prepared chain, is one in which a planned sequence — often one which has been drilled extensively in training situations — is executed in a single flow without interruption. This is the primary method by which an experienced duellist will begin an encounter, excluding interruptions. The second type of chain, the responsive chain, is not one which a duellist sets out to execute, but will occur in the normal course of events as the situation in a duel develops and risks or opportunities present themselves, and a prepared chain or other action in progress might or must be interrupted by another spell.

By far the most common responsive chain is the Shield Interruption chain, where a spell in preparation or in progress is cancelled in favour of casting the Shield Charm (as the name may helpfully suggest - you may find that many things in duelling are less romantically or fancifully named than you are otherwise used to, as in the heat of a duel a simple and directly understandable name for a technique can save precious seconds, and aids the memory greatly). The Shield Interruption chain is, indeed, one of the duellist's most basic skills, to be practised with great intent from as early as may be. That is not to say, however, that it is the only responsive chain to exist. Indeed, if it were, then the words "responsive chain" could be dispensed with in favour of shield interruption!

Other than this chain, and similar defensive responses, the other type of responsive chain is that in which an opportunity has presented itself which must be taken up with alacrity. For example, perhaps the opponent's movements have brought them onto somewhat unstable footing, such that the right attack may be able to take their stance from under them. Or perhaps they have somewhat fumbled a wand movement, and their grip is tenuous, such that they may be more easily disarmed — tales are still told in duelling societies of the great tournament of 1746, where Albrecht of Mainz (though thenceforth known as Albrecht Glitschigzauberstab, Albrecht Greasy-wand) inadvertently cast a butter-summoning charm, and in the slippery confusion, the Disarming Charm which struck him sent his wand not only out of his hand, but far into the watching crowd, where it lodged, tip first, still sparkling slightly, in a pork pie. History does not record what became of the pie.

In later chapters, we will cover exercises which may be used to develop both of these chain types, including the crucial wand movement portion of the endeavour.

 

#### Exercises of Practise

To safely train in the wand movement component of spell chaining, it is advisable to begin with the same list of spells that were used in the intention exercises. With each of these sequences, it is important to have a studiously clear mind, as unlike the last chapter, you will have wand in hand and be making the required movements. As before, start with short sequences before building to longer chains, moving your wand through the required movements.

The difficulty of this may be found in the transitions, from one spell to the next, as the finishing point of one is unlikely to align to the starting point of the next. These transitions are that which you must learn to make smoothly, without making the transitions resemble the wand movements of some third spell. Take care also that each spell has the same aimed target, as your wand placement is crucial here.

Begin slowly and deliberately, and then gradually increase your speed as your arm learns the movements.


	5. On Incantations

As we come to the incantations which are used when casting a spell, we again find that we are at a theoretically optional part of the casting. Just as some spells may, with some difficulty, be cast without the use of a wand, so too may some spells be cast without the speaking of an incantation. Nonverbal magic, as it is known, is much more relevant to the duellist's art than is wandless magic, but first, we must cover the uses and requirements of incantations in duelling.

When constructing a spell chain as described previously, whether of the prepared or responsive kind, the incantation is perhaps the simplest to adapt. That is not to say, of course, that this adaptation is objectively simple or without its stumbling points, but when compared to the complex mental and manual manipulations required elsewhere, there is perhaps some respite to be found.

In the most basic terms, the incantations in a spell chain are those of the individual spells, spoken in sequence. The difficulty lies in the proper enunciation of these incantations, as several undesirable effects may occur for the unwary. First, a long sequence of magical incantations for various spells may turn itself into something like a tongue twister, and while Baruffio's buffaloes may be somewhat useful as a distracting during a duel, they are more likely to be a hindrance to the caster than their opponent. Second, if the sequence of spells is cast too quickly, and the words of the incantation rushed, one may blend into the next, causing unpredictable and undesirable effects for all concerned.

To enhance this difficulty further, proper enunciation is an act of concentration, and while constructing and employing a spell chain, one's concentration is already engaged on the mental aspects of the casting. The extra burden of more difficult verbal feats has caused more than one duellist, both novice and experienced, to stumble over one part or the other — sometimes all three components.

As with the other components of spellcasting, the principal way in which the skill of chained incantations may be learned is simply by repetition, through drills and through practice duels (best conducted within the confines of a class or duelling society).

There is a disadvantage to this nature of magic, that requires all mages to clearly announce the identity of spells which they are attempting to cast. Several disadvantages, in fact, but for a standard duel in the honourable style — rather than, say, the types of ambushes and sneak attacks to which combative magics may also be applied — one aspect of this disadvantage is particularly keenly felt: that is to say, that if one's opponent knows which spells are being cast, they can more readily employ the correct countermeasures to whichever techniques are being arrayed against them.

It is in this area where nonverbal magic comes to the fore. It is a difficult thing to achieve in isolation — indeed I expect many reading this text for the first time may not have been educated in the use of such techniques — and yet more difficult to achieve in the heat of combat and the middle of a spell chain. I do not intend to go into great detail here about how nonverbal magic is done. If you are skilled enough in the use of nonverbal spellcasting to be able to maintain the concentration for both this more difficult casting and for spell chains, then I wish you the best of luck.

Many great duellists have employed nonverbal casting in their endeavours. A particularly effective usage of this is single techniques within a larger chain, which may interfere with an opponent's concentration as they adapt to hearing your spells spoken aloud. Personally, I do not favour the overuse of nonverbal spells in duelling, preferring to focus instead on using that concentration to increase the complexity of my spell chains.

When used in moderation, however, particularly during the opening salvo of a duel or as part of shorter chains, nonverbal magic is an excellent tool to have at one's disposal as a duellist.

 

#### Exercises of Practise

As with the exercises to aid in executing the changes of intention required for a spell chain, the exercises for incantations should be done in the absence of a wand. Again taking your list of spell sequences, and again beginning with sequences of two spells before moving on to the longer chains, practise enunciating each spell incantation clearly, with a distinct gap in between each. As you proceed, speed is gained through two shortenings: the incantations themselves may be spoken more rapidly, and the gap in between each may be reduced. In both cases, take care that clarity is not lost.

As you proceed through this, you will find that physical fatigue becomes a concern in your practise, as while we use our arms constantly throughout the day, fewer of us put such strain upon the jaw and tongue as repeated rapid sequences of incantations may induce — while i have taught students who spoke with such rapidity for much of their day, including when I would rather they concentrate on school work, their enunciation during such feats was somewhat less precise than I would require of an aspiring duellist.


End file.
